Neil Gaiman and Grant Morrison write a story

[a. non]

How does it go?

[Indigo Al]

i don't think this is such a mismatch. Morrison's stated many times that he wanted to structure Invisibles similarly to Sandman.

[Mr.EZ]

A person is swept up into a new world full of adventure!

And then it gets confusing and the ending sucks.

[berk]

Morrison does most of the work, Gaiman slaps his name on it and reaps much of the praise. But his name also boosts sales, so the collaboration is a success and future projects are planned.

[Red Jack]

Gaiman writes something lyrical and little sad that is grounded in reality despite its apparent fantastical elements. Then Morrison runs the whole thing through a shredder, dips random strips in LCD and X (but never both at once). Then he glues the manuscript back together, again in no apparent order, slaps an awesome cover on it with a title like Road Quarks and releases it to critical acclaim.

[PatrickG]

It might be interesting.

The way I see it, Morrison writes a hyper-compressed plot. Gaiman latches onto a detail and crafts a human story around a throwaway scene. Morrison starts throwing more crazy ideas into the mix.

There's a line Morrison wrote in JLA's CRISIS TIMES FIVE story that always struck me. When the 5th dimensional thunderbolt prince Lkz is on a rampage, a man shouts from the crowd, "Help! My wife is turning into ice cream!"

Somehow, I see Gaiman fleshing out that guy's story, Morrison making it packed with weird details and Gaiman mining those details for more stories.

It would decompress a standard Morrison story, I think, but the story that would decompress from that would be fairly dense as well. And Morrison would always be adding details which Gaiman would decompress further and build into, creating a feedback loop.

Somehow, I could easily envision these two creating a byzantine mythology and a cast of hundreds all around a simple bar fight, examining the lives of everyone in the bar before and after, riddled with prophecies and strange conspiracies and quiet tales of struggles with cancer and unrequited love and talking animals that all keep hinging back on this one scene and how it is central to the lives of a hundred people and the history of the universe as a whole.

[Ziggy Stardust]

All I know is if Morisson's involved, some ditches a long-time love, everyone dresses in leather, there's at least one really freaky relationship, and Quitely would be hired to draw it and all the men would pout and the women would be unattractive and overly skinny.

[Spackling Compound]

All I know is if Morisson's involved, some ditches a long-time love, everyone dresses in leather, there's at least one really freaky relationship, and Quitely would be hired to draw it and all the men would pout and the women would be unattractive and overly skinny.

Gaiman revisions a storybook character and ties in themes of Scandinavian gods and spiritualism. Someone's wife dies in the first part but he gets over it and trails across the world with a gnome for no reason at all. At some point, someone gets skinned.
Morrison adds geometry, telemetry and introduces the Dingbats of Danger Street into the fray. Everything is shrunk down to a subatomic level and each panel is drawn in the shape of Arabic prayer shawls.

1.5% of the people get it and praise it as great.
Everyone else agrees lest they are made to feel stupid.

DC releases a hardback volume 3 months later and no one buys it.